That is not to say the production does not have its virtues, merely that it does little to distinguish itself or deepen the story. That may be fine with some of the more spectacle-heavy shows that City Springs has done in the past, like “Anything Goes” or “Cats,” but “Fiddle” is a show that is anchored by its story and characters. I don’t think any blame rests with the actors, all of whom are at least competent and several of whom have shown remarkable talent elsewhere. Rather, there is something subdued about Shuler Hensley’s direction which, while at times effective, often makes an already long show feel even longer.
Credit: Mason Wood
Credit: Mason Wood
Jacob Fishel’s Tevye is a great example. His asides to the audience regarding his daughter’s marriages are uniformly fantastic, and the scene where Tzeitel begs him not to force her to marry Lazar Wolfe is genuinely moving. However, his softer performance lends itself to a rather sluggish “If I Were a Rich Man,” and some of Tevye’s angrier beats lack intensity — Chava’s rejection being one of the most noticeable.
One can assume this is attributable to Hensley’s direction, as most of the other actors are also giving more restrained performances (save Courtenay Collins as Yente, as her character is impossible to play subtly). It works well for Liza Jaine’s Golde, who comes off as a no-nonsense mother hen. It also mostly serves the daughters, who are each strong performers, though their characters are at times poorly distinguished — again, more a consequence of the writing than the performances. Carly Ann Lovell is one half of the reason why Tzeitel’s plea to Tevye is so affecting, and Leigh Ellen Jones gives a lovely rendition of “Far From the Home I Love.”
ExploreAtlanta fall arts guideI will say, the show looks gorgeous. Jacob Olson’s set design is highly evocative, using small effigies of houses to evoke a sense of community. I am curious about how the movement of the houses relates symbolically to what is happening onstage. Mike Wood’s lighting design is similarly strong, particularly during “Tevye’s Dream,” where he gets to cast the stage in gleefully eerie greens and purples (perfect for the Halloween season, in my opinion). Costume designer Jeffrey Meek also sinks his teeth into that scene, making the ensemble look ominous in a tongue-in-cheek way.
The cast also sounds, for the most part, excellent. I did find myself wishing during “Tradition” that the male voices didn’t overpower the female ones during the mother and daughter sections, but I suppose that is an unavoidable side effect of the way Bock and Harnick’s score is written. Upbeat songs like “To Life” and “Wedding Dance” really liven things up, due in part to Marla Phelan’s choreography. Those songs essentially serve as built-in opportunities for crowd-pleasing spectacle in a musical that is mostly devoid of it (which is not a bad thing, by any means), and Phelan takes full advantage of those opportunities.
Despite these strengths, one cannot help but feel that there is something missing here. The show is entertaining because “Fiddler on the Roof” is an engaging show, but the production seems content to rest on the show’s inherent virtues rather than add or amplify anything. That’s fine if all you’re looking for is to see “Fiddler on the Roof” as you’d be able to see it anywhere else, but if you’ve previously seen the show professionally produced, you may find yourself feeling like you’ve been here before.
THEATER REVIEW
“Fiddler on the Roof”
Through Oct. 22. 8 p.m. Thursday-Saturday. 2 p.m. Saturday-Sunday. $42-$130. Byers Theatre, 1 Galambos Way, Sandy Springs. 404-477-4365, cityspringstheatre.com/fiddler.
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Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
Credit: ArtsATL
Credit: ArtsATL
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